honestly... about 70 40. there is a LOT of programming involved to make a show a show... think of it like a movie... they dont do it all in one take. there are oppotunnities to busk it and improvise from time to time, and those windows are set in stone throughout the show... but... there is always a structure to follow to keep things working exactly how you want it to work and look exactly how you want it to look

was great! actually... very diverse... i love playing these festivals where so many artist and bands and all sorts of stuff get together for a big ol crossover soup.... great way to be introduced to new music outside of any "genre" you might be stuck in. plus... chitown fuckin rocks.

What I want to know, as a huge fan, is why the total lack of any progressive style house recently? I loved 4x4=12 but I really miss the amazing melodies of Strobe, Brazil, Move for Me, I Remember... Any chance of that ever coming back?

well, i dont go out of my way to "ban" anything... and i certainly dont make people buy "deadmau5 sanctioned heads" at events (even though ive been approaced with it many many times now) i personally like seeing something new at the shows... so im always counting on seeing craptons of awesome fan made stuff while im up there. and im never dissapointed.

i dont care really... its pennies on the dollar when you really think about it (which you shouldnt) but its also more exposure to more people to become into your craft... which is better in the long run to have continual believers in your work then a few pennies from some viral "hot for now" stint.

well the TL DR version is... loved skrillys stuff, signed his EP, Atlantic was all "whatever dude, do whatever you want, the FFTL shitk is ours" okay... so we did, was successful, Atlantic went "FUUUUUU... give him back. look we found loophole!" so skrilly goes back to label hell machine, owsla i think is his way out of that. so im happy.

The other half of the luminous pair takes the form of the artist's trademark logo: his head. There are actually two different versions -- one completely covered with LEDs, and another simpler one with neon-lined edges. We got to check out the neon one, which weighs in at over eleven pounds. Though both are essentially the same, the LED model weighs almost three times as much. On both, there's a camera up front that shows a view of what's going on outside, since the entire helmet is completely solid and there aren't any eye holes. There's a set of color video goggles on the inside that displays whatever the camera sees, so all interaction with knobs and sliders has to be dealt with in a different perspective. Essentially, he appears to be looking straight outward, but sees what's going on below him. There are also eight fans around back to keep cool while spinning tracks. (The LED one has six on the rear and two in the neck area to stimulate air-circulation.) We were also told the LED helmet sports over 1,000 individual diodes alone

It's shit like this that I absolutely love, going on in EDM these days. When dubstep started gaining its first foothold of momentum, DnB producers started migrating and applying their techniques to the genre. Now, over the last year or two, we've seen DnB/dubstep producers doing the same thing into neurofunk/electrohouse, and it's beautiful. It's like all of those sounds have found their rightful home.

I am a massive faggot fan of yours, have all your albums etc. I also make music of my own. I have a few questions I'd love to get answered by you - mostly concerning production. These sort of questions never seem to get asked/answered on Livestreams.

How long was it until you were happy with the quality of the music you were making? When abouts did you reach that point of feeling like you were really happy with your production? What skills did you have most trouble learning? (probably goes a long way back)

How do you feel you've improved most since let's say, Get Scraped?

What advice would you give concerning creating samples from scratch? And do you have any advice in general on drum production?

In terms of production and/or songwriting, what would you say took you the longest time to perfect? And how did you go about doing so?

i dont think i'll ever be 100% satisfied with any of my work... i dont think anyone ever really is... always feel like i could be doing better... which at least makes me feel secure in the sense that i have ALOT more to accomplish in life.

Musically? i feel im still trapped in that melancholic kinda meldoy structure vibe i always have been, if anythings improved it's been my knowledge of mixing and refinning the sound on an engineering standpoint.

Sums up my feelings as well. I saw you in D.C. (9:30 Club) 2 years ago and have since seen you another two times. The D.C. show was by far the best experience (This is when you had the vertical light display before the cube). Your entire set was like a giant progression, seamless, and imo flawless.

Whether its upbeat like I need a Ladder or when you play a old gem like Faxing Berlin and everyone just stands there taking it in before you build it up again, it may not be the direction you still want to take it but remember your fans from the i'm not alone and I remember days!

when on tour, we usually route shows in such a way that the stage can be shipped via 2 of those 14 wheelers truck things. its usually driven, but flown cargo when the shows are overseas.... we (mostly) travel with 2 tourbusses (one for the 18 core crew who tour with us) and 3 tour trailers, sometimes 4 (when we bring our own sound). depends really.

That's incredible. I always thought you had more then one cube set up on different continents so that you didn't have to drag the set back and forth across the ocean. Huge respect for the amount of logistical organization you put into every one of your shows.

2) On a more serious note, where do you see music being in the next ten years? We have come a long way from Kernkraft's ZombieNation, any thoughts on the sheer force electronic music took the industry by?

3 )How does this relate to us in an anthropological sense? (What is the appeal for this type of music as biological beings?

4) I always thought of electronic music as being more visual and visceral than contemporary "band" music (you feel the ups and down, the tension and release, would you care to contribute to this point?

i dont know, i like the tongue in cheek shit... like FSM and whatnot. It just suits me well i suppose. Just picked it up one day and said "oh, rad... i like this" kinda like what some people did with the bible.... sorta.

not at all... im glad i helped kicked open the door for people to get more interesting on stage. :) interesting and entertaining is what i want when i pay to go see a show... not a black cloth covered picnic table and a guy playing CD's in front of an LED wall. ;)

first off, i'm so glad that i stumbled over to your set at hardhalloween in LA back in 2008, because i have loved your music and seen you live about 5 times since then.

what i'd like to know, is, when you (or most electronic djs for that matter) play shows, are you sober? rolling? drunk/high? i'm really curious because i wonder if you hear the music you're playing the same way a lot of your audience does.

Im gonna go out on a limb here, but as a dude on stage that makes beats/womps/dirty souf raps for the peeps out there, if you take drugs in front of 500+(100x for mau5) people, youre probably going to freak out and do a really shitty job. Especially when technology is involved. Yeah, sure, jimi did, but he wasnt staring into a screen trying to fuck with all this shit, he was just shreddin, man.

I personally love to smoke dope, but not before i play as it makes me a little self absorbed and im trying to act like some party animal ass hole up there getting people riled up, so it doesnt work.

On the other hand, i love getting drunk. Then i play "Get on my level". Then its cool. Just make sure you dont fall down.

You think we are up there doing the same thing you are, but that couldnt be further from the truth. We are up there to put on a show, entertain you, be "good"(drugs dont help with that). We do the same thing every night, yea, its a sweet party, but at the end of the night we are working. Just like a bartender doesnt have as much as a bar patron, same sort of deal.

I think he could probably answer alot better, but thats my experience in 500+ gigs(although much much much much smaller shows than mau5s)